Overall, Creeps is witty, it's scary, it's gory, and it includes a number of one-liners that many film-fans still quote today, though none will ever be as memorable as: "The good news is…your dates are here. The bad news is…they're dead."

There may be a sort of cutesy premise, and the message about fixing problems without violence might seem a bit innocent these days, but Spies in Disguise is absolutely charming.

Free Guy delivers a first hour that is outrageously entertaining, stuffed with gonzo action, goofy gags, star power, big ideas, and plenty of Easter Eggs for lovers of movies and video games. However, in its second half, the joyful journey is derailed by a slog of a side quest, falling short of the potential set-up.

While it's not as wonderfully weird as it could have been, the latest SpongeBob movie still delivers silly, family fun.

Great stuff, if you can stomach the dated look and content.

Sure, it's silly and exploitative, but it's also a hoot to watch, particularly for gorehounds, Corman fans and cult enthusiasts.

The Many Saints of Newark is a solid and fan-friendly prequel to the classic HBO series, even if it does try to add too much to the Sopranos Universe.

While it may not always pay off the tension it builds, the film’s story — about a woman seeking closure after her husband’s suicide — makes the lingering unknowability of romance feel just as unsettling as any supernatural force.

The dystopian fantasy elements of the saga are now at their thinnest, painting a cinematic world that may hit too close to home for some. Ultimately, it's a solid entry that can either act as an ending or a new beginning.

King Richard is a simple tale of triumph over adversity. The supporting cast shines, Will Smith excels, and while this might not be the full story, King Richard nevertheless works as both character study and feel-good sports movie.

The Wretched's endeavor to meld a junior mystery with some pretty extreme horror works more than it doesn't, but ultimately neither side of this narrative coin gets explored as much as it should. Despite this, as a well shot and admirably executed thriller, it's a good entry into the catalogue of on-the-cheap scares.

The Bob’s Burgers Movie is a glorified episode of the series, but that’s hardly a bad thing.

The story opens the door to a fascinating mythology of ancient warriors and immortality, although things get a little clunky when it comes time to explain how it all works. Still, The Old Guard is well worth watching if you’ve got an itch for something new.

Extraction works because its simple, yet sufficient, story allows the film's action to take center stage. If the stunt work were mediocre, the entire thing would be an utter waste of time. Thankfully though, Extraction boasts an exhaustingly awesome showcase of expertly choreographed fists, knives, guns, and explosions.

Coffee & Kareem keeps it simple, short, and to the (ultra) violent point as a raunchy cop comedy with clever jokes, zany action, and fun chemistry between leads Ed Helms and young Terrence Little Gardenhigh. It's a small cast but everyone in it is pretty funny, and the director easily knows how to craft a compelling mismatched partner scenario.

Peninsula feels fairly derivative when compared to the tighter and more terrifying Train to Busan, but on its own, as an expansion of this universe, it's a rollicking ride through a hollowed-out hellscape. It's almost a complete genre shift, but not an unrewarding one.

Josh Trank’s somber, small-scale drama is not the guns-blazing Al Capone biopic some gangster movie fans might be expecting, but it’s a curiosity that nevertheless demands a look-see for a fresh take on a crime legend whose most notorious exploits have been retold many times already.

Shazam! Fury of the Gods may not pull the heartstrings like its predecessor, but there’s no shortage of the chaotic good humor and energetic performances that put Billy Batson and the Shazamily on the map.

Although its rapid pacing doesn't always allow for the dramatic moments to resonate for as long as they could, Baz Luhrmann's Elvis biopic is a heartfelt and moving tribute to the late rocker.

Dungeons & Dragons: Honor Among Thieves is an accessible fantasy adventure that both roasts and respects D&D culture without losing newcomers along for the ride.

Kevin Hart and Woody Harrelson have solid goofball vs. grump chemistry in an entertaining action-comedy.

All in all, An American Pickle is a solidly entertaining comedy. Its oddball conceit dares audiences to take the plunge, and Seth Rogen rewards them with Herschel, who is bold, thrilling, and a little bit bonkers.

Pixar's Luca may not be one of the animation studio's strongest efforts, but it's still a sweet summer getaway.

The Christmas Chronicles: Part Two, directed and co-written by Chris Columbus, once again takes full advantage of Kurt Russell's exuberance as Santa -- and the full addition of Goldie Hawn's Mrs. Claus -- for a rewarding romp about young Kate Pierce's need to rediscover the holiday spirit.

I absolutely love the first half of this film. Lister-Jones recaptures the magic of the original by welcoming the audience into a cool coven with warmth and radiant leads. It's a pleasure to tag along with this dynamic squad, whether they're dabbling in telekinesis, flirting with a crush, or taking on the forces of evil and misogyny. Slow-motion of moments awkward, lusty, and celebratory envelop us in the overwhelming emotions of the heady time that is teendom. Sadly, this spirited and powerful path is abandoned to lay the groundwork for a sequel that is -- as far we know -- not a certainty. Such plotting bogs down the rich and rewarding story of friendship, self-acceptance, and growth. Still, that franchise-forward choice aside, this sequel is wickedly fun and bewitching.

Francis Ford Coppola has tightened up and retweaked his final Godfather film, but the original's inherent flaws remain.

Like memories themselves, some portions of the movie feel like they’re on a loop. Luckily, excellent performances from Hugh Jackman, Thandiwe Newton, and Rebecca Ferguson, in addition to some gorgeous production design choices, make this an intriguing watch.

It may not be a flawless victory but the new Mortal Kombat movie is a fun time for fans of the game franchise.

If you like the Blaxploitation flicks of the 70s, this is your candy. If you liked Shaft, but thought it was a bit slow, this one has a little more action, and budget, and its logic matches Shaft in Africa (leads come out of nowhere and thugs appear at the unlikeliest of times).

A Glitch In The Matrix is a solid sibling to Room 237 and The Nightmare. Once more, Ascher offers an empathetic space to conspiracy theorists and dreamers, creating a superb setting for honesty, earnestness, and vulnerability. Employing keen editing, he illustrates their arguments with pop culture references and panache. However, he also offers the shadow of a doubt, allowing the viewer a safe space to question.

It takes a little while to get going, but once it does, it never lets up, proving a cathartic anti-authority picture driven (both literally and figuratively) by Howard.

Cryptozoo may be overstuffed with ideas, but its central dilemma is a fascinating and poignant message that carries a dazzling animated adventure.

You know exactly what brand of “weird” to expect from Nicolas Cage and Sion Sono, but what you might not expect is how much the film feels like a death dream about movies.

Space Sweepers is low-risk, low-reward entertainment. It’s a breezy bit of escapism with some social commentary baked in, but it’s the spectacle and whiz-bang that’s on the front burner. Even as he gleefully reshuffles familiar elements from a variety of sources, director Jo has created a fascinating science fiction tableau that feels both original and inviting.

Werewolves Within easily separates itself from the pack by delivering a quirky monster mystery filled with gentle laughs and massive maulings. Not every joke lands, and not every character fits, but overall it's an entertaining alternative to the season's more ghoulish and grim offerings.

Ufotable’s jaw-dropping visuals alone make Demon Slayer the Movie: Mugen Train well worth a watch, even if the film stumbles a bit at the climax.

Addison Rae and Tanner Buchanan are magnetic leads in this reboot that pays homage to the first film, but fully stands on its own. It manages to cut through modern high school b.s. while transforming two posers into presentable, likable people.

A pleasant surprise that both undermines and elevates typical revenge sagas, Riders of Justice is a unique blend that charms and captivates.

Downton Abbey: A New Era starts out as a wistful return to the familiar before shedding its skin and letting the series’ nauseating ugliness come frothing to the surface. It goes from funny and charming to jaw-droppingly grim at the drop of a hat — a wild tonal whiplash that’s absolutely worth a watch. It’s a concentrated dose of Downton Abbey.

Old isn't M. Night Shyamalan’s best work, but it is one that shows maturity – a movie that tackles universal and intense themes over twists and puzzles.

Trollhunters: Rise of the Titans delivers an emotional and action-packed conclusion to the Tales of Arcadia saga, although the movie format doesn't give its large cast the chance to shine.

America: The Motion Picture is like Drunk History if the history were not only drunk but also on nitrous. Channing Tatum once again proves he's a comedy force to be reckoned with, backed by a stellar cast of capable and cunning joke spitters.

Blood Red Sky could lose a few minutes, but overall, it's a ferocious and fun merging of vampires and hijackers.

While Fear Street Part 2: 1978 still offers some thrills, it's not a cut above its predecessor.

Torn between the avant-garde and the traditional, Todd Haynes’ The Velvet Underground is an intentionally fragmented documentary that’s less about facts, and more about the feeling of being alive in a specific time and place. While more accessible to those in the know, it’s still hypnotic enough to be inviting.

Jane Campion serves up a nervy psychodrama set against an astonishing cattle country backdrop with impressive performances from Benedict Cumberbatch and Kirsten Dunst, but an obvious plot trajectory that dulls the storytelling impact.

Lin-Manuel Miranda tries to turn Jonathan Larson’s one-man show into a traditional musical, but ends up getting stuck halfway in between. However, Andrew Garfield delivers a tremendous, running-on-fumes performance as the real-life Broadway mainstay, whose impending 30th birthday pushes him to his creative and emotional brink.

Nostalgia and new thrills make an interesting marriage in an imperfect but otherwise exciting Jurassic World Dominion.

Vacation Friends may be a touch predictable, but John Cena and Meredith Hagner will make you wish you had friends like them on your next trip.

The craziness of David Leitch's train never goes off the rails nor reaches top speeds but still brings us along for a smooth and stable joyride that outshines its recent American action counterparts.

Transformers: Rise of the Beasts proves that the Transformers franchise is accelerating in the right direction, delivering solid Autobots action and a solid voice cast behind the infamous robots in disguise.

Mona Lisa and the Blood Moon sizzles like a heated cajun fairytale that tells humanity how it is, brimming with Amirpour's distinctly creative voice that keeps me coming back for more.

As a piece of film history, Transformers: The Movie is pretty weak. But as an entry into the lexicon of popular Eighties culture, the Transformers phenomenon is on par with Matchbox cars, G.I. Joe and (at the time) queen Barbie herself. Long live Optimus! Long live Transformers!

Shirobako: The Movie is a beautifully animated treat for fans of the series, but it might’ve benefited more from exploring less familiar territory.

Hellbender, a coming-of-age movie from a family that’s built their own indie horror house, is a captivating, smart, and delightfully witchy tale.

Its efforts at social commentary mostly fall flat, but its thrilling moments and Gyllenhaal’s intense performance largely make up for that.

Love Hard isn’t reinventing the wheel, but Nina Dobrev and Jimmy O. Yang are adorable to watch in this feel-good Christmas rom-com.

It's a pretty awesome, ambitious and sometimes very cheesy, apocalyptic sci-fi actioner. It just doesn't hold a candle to Star Wars, its cinematic big brother.

The Tender Bar is a coming-of-age dramedy that sails on the backs of the exceptional ensemble cast.

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

Despite the editing flaws, and the weaker aspects of Branagh's performance and direction, Mary Shelley's Frankenstein is one of the better adaptations of the original, nearly 200-year-old story.

Strong performances and attractive visuals keep Lightyear afloat, but the story isn’t the quality you’d expect from Pixar.

Black Friday proves to be a winning combination of gloppy scares, well-crafted characters, and wise commentary.

Despite its missteps, Blue Beetle remains a good time at the theater. Amid the action and the comedy, its emotional core resonates with the experience of growing up in a Latine family. The film is comedic without being cheesy and, hopefully, a massive launchpad for Maridueña’s career.

Filled with nudity, violence and loads of B-movie fun, Big Bad Mama strikes the perfect balance between exploitative raunchiness, and great low-key action and excitement.

Chloe Okuno’s stalker flick is so solid that that’s hard to believe that this is her first foray into feature-length films. The story will linger too long for some, but anyone willing to stick with it is in for a treat.

Hatching is a scattered body-horror romp with the best child performance this year.

Anna Diop gives a captivating performance as a Senegalese immigrant working to be reunited with her son in an uneven but haunting meditation on motherhood.

Chip ‘n Dale: Rescue Rangers isn't the first movie to do what it's doing -- with live-action and animation sharing the screen, helping nurture a meta-comedy adventure -- but it's damn fun and one of the cleverest uses of elder pop culture properties in a while.

The Contractor may have an underwhelming conclusion, but the journey to get there is an emotional one, with a strong performance by Chris Pine.

You Are Not My Mother effectively mixes folk horror, family drama, and slow-burn scares to deliver an unsettling story elevated by some fantastically nuanced performances.

Hustle may be a conventional sports drama, but it still offers Adam Sandler another dramatic role to shine in.

Cole Sprouse and Lana Condor are a fun duo, capable of feeling human and endearing in the midst of cosmic turmoil. The movie's not a full home run, but it's surprisingly silly and shrewd.

While not necessarily the very best of this genre, it’s a solid character drama benefiting from strong performances by a top-drawer cast.

Renfield makes a mess of its story at times, but does a good enough job getting gorgeously gruesome with its vampire action sequences to win us over with cartoonish gore – and Nicolas Cage's Dracula is one for the ages.

Richard Linklater’s animated Apollo fantasy is scattered, but sweet.

Wonka is a celebration of music makers and the dreamers of dreams, a big, old-fashioned movie musical that uses Roald Dahl’s world just judiciously enough to avoid any serious hits to the author or Gene Wilder’s legacy. Timothée Chalamet’s portrayal of Willy Wonka is most successful in its earnestness, and Chalamet brings the character to life with a gleeful abandon that makes him easy to root for, along with an energetic supporting cast who end up carrying the banner of Wonka’s weirdness more than Wonka himself. Charming and well-staged musical numbers give the movie enough of an identity of its own to make it worthy of a taste – just remember to burp and fart if you start floating toward the ceiling at any time during your screening.

Linoleum is a heartfelt story about making every day seem like something fantastic.

Violent Night might take a hot minute to find its footing and keeps plucking low-hanging wordplay sugar plums, but at full strength, nobody's stopping Santa from making this year the reddest Christmas imaginable.

More Jackass is never a bad thing, so Jackass Forever follow-up Jackass 4.5 is fun despite being a scattered collection of interviews and deleted scenes. Like its predecessors, it’s bonus content for a Jackass movie delivered at feature length, which makes it catnip for long-time fans.

Spiderhead is loaded with original sci-fi ideas, and while it may not stick the landing, it makes for an intriguing experience.

God’s Creatures explores generational family gender dynamics in an extremely slow-burn way, but it has plenty of rewards for patient viewers.

Based on the scrappy Japanese zombie comedy One Cut of the Dead, Michel Hazanavicius’ Final Cut is a more polished version — for better and for worse — but it’s just as fun and self-reflexive, while also leaning into its remake status for a few added laughs.

The movie’s only real sin is some dull lyrics for rough songs. Amy Adams’ return as Giselle is a charming one, and families will have plenty of fun sitting down to watch this sequel together.

Rough greenscreen work can’t keep the Sanderson Sisters down in a fun enough follow-up to a Halloween classic.

The Last Voyage of the Demeter should delight horror fans raised on Boris Karloff and Bela Lugosi, and offers an R-rated bite of vampiric brutality for genre fans with a stronger bloodlust. Øvredal does well to transport his cast to a time when scary stories were told around lanterns in the dead of night, and even if the moodiness evaporates due to a protracted runtime and the foregone conclusion of Dracula’s landfall, the director accentuates the basics of violent feeding sessions in hair-raising fashion.

Less neurotic than Woody and more fun than the average Sandra Bullock flick, it's a guy flick disguised as a chick flick.

M3GAN capably proves herself more than a horror villain meme, although the film does sometimes struggle to balance the horror and comedy.

Actors Tom Blyth and Rachel Zegler are brilliant additions to the franchise with equally magnetic takes on their very different characters, but aren’t given enough time to fully flesh them out.

Strange World may fumble its environmentalist themes, but its story of fathers and sons is fairly touching.

It’s not as delicious as its practically perfect predecessors, but Paddington in Peru preserves the series’ sweet-natured fun.

Shady lunatics are stuck in a lavish woodsy manor where they’re encouraged to explore their repressed issues to their most destructive ends — and that’s not even all of the devious entertainment available. It’s got storytelling hiccups along the way as Meir favors the absurdity of singular moments over and over, but that’s also part of its sharp-toothed charm. Come curious, leave bloody. That’s the path to enjoyment.

Smile is a disorienting, anxiety-inducing nightmare that leaves you questioning everything you see. The scares feel over-abundant at first, with feints and fake-outs almost laughably frequent, but they eventually create a creeping paranoia that nothing is quite as it seems.

Tom George succeeds in telling an excitably ambiguous case within a self-deprecating whodunit satire, even when employing the easiest tricks in the manual.

The Dragon Ball franchise’s first 3D CG-animated feature film is a fun, low-stakes love letter to Gohan fans with exciting momentum as well as room for some moving sentimentality amidst earth-shattering fights.

Orphan: First Kill doubles down as a prequel about Esther but manages to feel so uniquely standalone thanks to some supreme storytelling swings.

I Came By elevates a pulpy serial killer premise with fun casting and surprising story beats.

Ant-Man and the Wasp: Quantumania has just enough heart, humor, and excellent performances to make up for its more underdeveloped aspects.